As a contact improv dancer, I have had countless experiences of gesture or touch triggering my emotions. When my head is cradled, I surrender to childlike trust. When my sternum is poked with an index finger, I shove it out in defiance. An arm draped over my shoulder establishes camaraderie, while an arm around my waist invites closer intimacy. I probably spent my first five years as a CI dancer, maybe longer, desensitizing myself to the hundreds of triggers my body has collected so that I could discover movement more complex than the emotionally obvious.
Today's conversation, though, was specifically about language as a trigger. By speaking about the qualities of the movement desired, the teacher can create the sensation of the movement in him/herself if not in the students as well. There is a wonderful feedback loop as well. As the body remembers its actions, the language comes more easily to describe it, and the enhanced language further spurs the recalled mobility. I wonder if athletes do this along with their visualizations, activating their whole brains to project peak performances.
I love language. I come alert with new words, or uses of words, and love to play with descriptive imagery. I am curious about the layering of associations and the surprises that occur when words leapfrog about in homophonic disarray. A pun is fun, but not just that, a once a pun is time so fine upon a pen, O pen, open now to me thy mystery.... and I am off. Fluidity of language is like fluidity of form. Triggered together, they accelerate a mobility of feeling, a cascade of sensation inspiration. All hypno-anchored, of course.
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